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The J. Paul Getty Museum Journal has been published annually since 1974. It contains scholarly articles and shorter notes pertaining to objects in the Museum’s seven curatorial departments: Antiquities, Manuscripts, Paintings, Drawings, Decorative Arts, Sculpture and Works of Art, and Photographs. The Journal also contains an illustrated checklist of the Museum’s acquisitions for the previous year, a staff listing, and a statement by the Museum’s Director outlining the year’s most important activities. Volume 19 of the J. Paul Getty Museum Journal includes articles by Nicholas Penny, Ariane van Suchtelen, Thomas DaCosta Kaufmann and Virginia Roehrig Kaufmann, Frits Scholten, David Harris Cohen, and Dawson W. Carr.
In describing the canon-building of modern dealerships, Jensen considers the new "ideological dealer" and explores the commercial construction of artistic identity through such rhetorical concepts as temperament and "independent art" and through such institutional structures as the retrospective.
Child of materialism and positivism, Courbet was without a doubt one of the most complex painters of the nineteenth century. Symbolising the rejection of traditions, Courbet did not hesitate to confront the public with the truth by liberating painting of conventional rules. He became from then on the leader of pictorial realism.
"The Contributions of Artists Pierre Bonnard, Edouard Vuillard, Maurice Denis, and Ker Xavier Roussel to the French avant-garde of the 1890s, as members of the Nabis, are widely recognized. What is less known about these artists' careers is their extraordinary work in decorative painting - work on a large or unusual scale for private interiors. This illustrated book focuses on the many decorative works carried out by the four artists between 1890 and 1930. During these years, they moved beyond the narrow parameters of easel painting and applied their wholly untraditional aesthetic of decoration to a wide range of works for domestic interiors, from wall-size ensembles to folding screens. The cosmopolitan group of patrons who made this work possible ranged from the avant-garde circle of La Revue Blanche to prominent members of the French establishment. An examination of their role and tastes is another fascinating feature of this publication." "The book and accompanying exhibition reunite paintings that have long been dispersed, introducing contemporary viewers to a group of bold and evocative works, which had a wide-ranging, though little-recognized, influence on modern art. As the book's authors argue, the aesthetic embodied by these works indeed helped set the stage for the large, non-narrative paintings by artists as diverse as Rothko and Lichtenstein that came to dominate the avant-garde after World War II."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
A transformative study, freeing the artist from outdated art historical narratives and revealing his work as newly strange again Cézanne’s Gravity is an ambitious reassessment of the paintings of Paul Cézanne (1839–1906). Whereas previous studies have often looked at the artist’s work for its influence on his successors and on the development of abstraction, Carol Armstrong untethers it from this timeline, examining Cézanne’s painting as a phenomenological and intellectual endeavor. Armstrong uses an interdisciplinary approach to analyze Cézanne’s work, pairing the painter with artists and thinkers who came after him, including Roger Fry, Virginia Woolf, Albert Einstein, Maurice Merleau-Ponty, Rainer Maria Rilke, R. D. Laing, and Helen Frankenthaler. Through these pairings, Armstrong addresses diverse subjects that illuminate Cézanne’s painting, from the nonlinear narratives of modernist literature and the ways in which space and time act on objects, to color sensation and the schizophrenic mind. Cézanne’s Gravity attends to both the physicality of the artist’s works and the weight they bear on the history of art. This distinctive study not only invites its readers to view Cézanne’s paintings with fresh eyes but also offers a new methodology for art historical inquiry outside linear narratives, one truly fitting for our time.
THE FAIR IMPERIA THE VENIAL SIN THE KING'S SWEETHEART THE DEVIL'S HEIR THE MERRIE JESTS OF KING LOUIS THE ELEVENTH THE HIGH CONSTABLE'S WIFE THE MAID OF THILOUSE THE BROTHERS-IN-ARMS THE VICAR OF AZAY-LE-RIDEAU THE REPROACH THE THREE CLERKS OF ST. NICHOLAS THE CONTINENCE OF KING FRANCIS THE FIRST THE MERRY TATTLE OF THE NUNS OF POISSY HOW THE CHATEAU D'AZAY CAME TO BE BUILT THE FALSE COURTESAN THE DANGER OF BEING TOO INNOCENT THE DEAR NIGHT OF LOVE THE SERMON OF THE MERRY VICAR OF MEUDON THE SUCCUBUS DESPAIR IN LOVE PERSEVERANCE IN LOVE CONCERNING A PROVOST WHO DID NOT RECOGNISE THINGS ABOUT THE MONK AMADOR, WHO WAS A GLORIOUS ABBOT OF TURPENAY BERTHA THE PENITENT HOW THE PRETTY MAID OF PORTILLON CONVINCED HER JUDGE IN WHICH IT IS DEMONSTRATED THAT FORTUNE IS ALWAYS FEMININE CONCERNING A POOR MAN WHO WAS CALLED LE VIEUX PAR-CHEMINS ODD SAYINGS OF THREE PILGRIMS INNOCENCE THE FAIR IMPERIA MARRIED
"Unequivocally a modern, Francois Boucher (1703-70) defined the French artistic avant-garde throughout his career. Yet the triumph of modernist aesthetics - with its focus on the self-critical, the autonomous, and the intellectually challenging - has long discouraged art historians and other viewers from taking Boucher's playful and alluring works seriously. Rethinking Boucher revisits the cultural meanings and reception of his diverse oeuvre, inviting us to revise the interpretive cliches by which we have sought to tame this artist and his epoch."--BOOK JACKET.